The form of poetry is always fertile ground for the overlap and fusion between creativity and criticism in various global ethics. This has taken the overlap different forms, ranging from the critical awareness that accompanies the process of creativity itself in terms of subject for reflection and revision and review and evaluation and other processes that cause us stress that the poet holds within it a critical force, and indeed, to the integration of the poem of modern component Almitachari as part of an imagined the poem as an expression of the horizon of modern poetry in the experiment.
On the point the first appearance, confirms T.. Q. Elliot that "the screening process, connectivity and construction and deletion, correction and choice ... a strenuous effort to criticism which is for the creation of importance. I contend that the criticism practiced by an experienced writer Maher is on its
Most important types of criticism and called it ". Because of the positive appearance of this kind of criticism, we found in the experiences of Arab poetic heritage adopted a rule in Creative practice, including, in particular, school yearbooks represented by Zuhair bin Abi Salma, who was not his poem out of circulation until after it passes around the entire refinement and Altgak. In parallel with this, we find some of the poets who not only make their poems on their behalf to express what their effort to cash in their systems, but turning this effort to the subject of a key within the poem, where we find in the old Arabic poetry, for example, verses many speak the poets for their suffering in the selection of rhymes and orthopedic weight of the poem.
It is noted that the relationship between poetry and criticism have exceeded, sometimes, these manifestations of the implicit into the formulation of rhetorical explicit, as is the case for the so-called "cash Almnzawm", who hails his history of "poetry," Horace to reach St. buff in the modern era. And hung on the latter, see the authors of the book "literary criticism" that "what makes his poetry and his novel Rdaitin the one hand, the qualities cash displayed by them. The St. buff rather than to express directly the same, it analyzes itself, rather than disclose poetry or prose about his feelings and emotions and concern, it gives an abstract explanation; his poetry and that poetry is, in fact, mixed with ideas for his critic until we find the cash Mnzawma !".
With regard to the component Almitachari we called in the poem, we can say that its origins and initial Arhasath began with the ancient poem, where we find poets formulating their perceptions about poetry, nature and function in the poem. And can represent this Bnmozgen: the first cross, through him, Hassan ibn Thabit about his position on the issue of truth and lies in the hair - a key issue in the Arab Monetary old - where he says:
But the core of one's hair offered by
If you feel House dismisses
The bag on the boards but foolish
If the house is said Oncdth: honest
And the second is talking Buhturi the difference between poetry and engagement in terms of the adoption of the first to suggest instead of humor, a position adopted by Abu Hassan Aamidi as a critic, he says: ".. Because the hair Ojodh told him, and rhetoric but is an infection of meaning, and realize the purpose verbally easy fresh Used sound of the Baroque, do not reach the humor in excess of the amount needed, not decrease without a decrease of standing end, and so, he said Buhturi:
And hair hinted enough reference Balhdhir and not lengthened his speeches ".
But what should be emphasized is that the presence of this type of component Almitachari, it was not translated for the selection of aesthetic conscious as is the case in the experiment poetic modernist in which the relationship of this component of the text part of an imaginary poem, and therefore, an indicative of the construction of semantic and visionary for this poem. This pattern, lists and Rene lacquered hair samples of European and American, where he says: "However, under some of the poets in their hair trying to talk about poetry and poets, that is create something called modern poetry about poetry Meta-poetry As we speak the language of the modern language. And cares about the hair that talks about the hair renew the identity and function of the poet and his message. It must be linked to the modern wonder about his status as an vision, as a priest or wise. The re-emphasis Holderln in Germany in the hair on the sanctity of a poet, and asked Rlleke in the not too distant from the poet, in the seventh Elegy of Lamentations Dueno, to reshape the whole visible world to the internal space. In France, Mallarmé wrote the poem "elites sad" to Theophile Gautier re-emphasize the desperate tone of the challenge on the function of art immortalized "by the sober air stirring words." In poetry the U.S., it is possible to cite a poem Wallace Stevens, "Notes for a fantasy world top" or the poem "The idea of the system in Key West," which addresses the critical French is Ramon Fernandez to praise "the enthusiasm the holy of the system, Hamas, the manufacturer of systems words .. or may quote poem Arjhibald McLeish "The Art of Poetry" Boukhatemtha often misunderstood, which says: The poem should not mean But to be ".
Almitachari component may take, in some experiments, the form of critical discourse formulates a creative cultural environment concerns of the poet linguistic and poetic, so that the hair field for experimenting with such concerns. Perhaps this is what is highlighted by one study that worked on the "Select a certain number of relations between the linguistic literature for c. Bolan J. Paulhan , And critical texts or poetry Aillwar, and highlight how to enable the early establishment of Matalegh defined as "a model for the language" for the second ". If Pollan has coined Matalegh lingual based on interest in the Word, and the relationship of self-speaking images and parables, the poetry of the poet Aillwar surreal Paul has worked to test this Almitalegh and creative equivalents.
Has become a component Almitachari to analyze the experiences of other poets and comment. And can represent to the model of contemporary Arabic poetry embodied by Muhammad Afifi Matar, the poet, who combines his literary between properties creativity and cash, and is characterized by the ability to Sarhama in one template, as is the case in one of his poems of self-drama, EE "The Queen and Lords and others "tragedy". " He says in the sixth sectional marked with "hair":
" Hair
Let Alchtir and Quintupling .. This hair Ojaddat
And illusions Mkhriqh Confused
Called for his glass and drink tents alone
And curse the darkness of the pit
Complain of the cruelty of fate Landman
Called "Shawky" swim Lord Sultan
And wearing the crown of the Kingdom of false without crowns
Let the dead ..
How Svhawwa Mhabarham the thresholds
And extended as understand the supplement and Alkhlah
Loya regret .. Went .. Characters left
Baluchi and embroidered workmanship
And not by Abeer dust
And does not have the night while Abeer enlighten human
Some of the torment, hunger fever
And age - despite the dry - long for the word
If you walked on two legs
And sank in the blood red fire Almhbob
Hevc and the conscience of the bottom .. ".
Swinging Almitachari discourse in this section between Benitan: one catabolic, and the second constituent. The first demolition of the concept of my hair and sing Balojaddat illusions and Alodgat, and the second building to another concept, the opposite of the first, based on the need to dive deep into the human hair and in his blood and his conscience. The Afifi Matar criticized here Charitin two experiments: the first of Omar Khayyam, who sung the cup and cursed death in his Rubaa'iyaat, and the second of Ahmed Shawki, who devoted part of his poetry to the praise of the Sultan. And on the ruins of these two experiences builds his hair, which is necessary for this age, and glorifies those associated land and rights, and diving in Oamagahma away from falsehood and deception.
